Word: cubists
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Dates: during 1990-1999
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...academic distinction between line and color," as his biographer Hilary Spurling puts it. Already burdened by the Fauve ("wild beast") misnomer, his public saw his work as a threat "to undermine civilization as they knew it." At virtually the same moment, his great rival Picasso creates his equally masterly Cubist collage Still-Life with Chair Caning and Guitar, which reverses the centuries-old traditions of sculpture, focusing the spectator's eye not on the final effect but on the process and materials by which it is obtained...
...everyone else. Yet seemingly mundane situation, such as befriending a pooch in "The 24-Hour Dog," are approached with equally fresh and keen perception. Winterson's quick scene changes, especially apparent in the latter story, can be jarring. But in another sense, it is as if she is a Cubist painter presenting varied perspectives in an attempt to avoid cliche and whisk you to the "other places" mentioned in the book's title...
...women's dress evolve from the balloon-derriere silhouette of the 19th century to the cleaner, linear look that has characterized the 20th? This show at the Met's Costume Institute makes the dazzling and utterly convincing visual argument that what facilitated the transition was the influence of Cubist painting and theory. From the tunics of Callot Soeurs to the cylindrical day dresses of Vionnet to the drop-waist skirts of Chanel in the 1920s, fashion's deflation followed the Cubist embrace of the plane. In other words, liberated from corsets, women everywhere owe a thank-you to Picasso...
...constructed form rather than solid mass arose from one small guitar that Picasso snipped and joined out of tin in 1912. If collage--the gluing of previously unrelated things and images on a flat surface--became a basic mode of modern art, that too was due to Picasso's Cubist collaboration with Braque. He was never a member of the Surrealist group, but in the 1920s and '30s he produced some of the scariest distortions of the human body and the most violently irrational, erotic images of Eros and Thanatos ever committed to canvas. He was not a realist painter/reporter...
...virtuoso like Picasso. It's true that there's no erotic content in his work, and little manifest lyricism or spontaneity. He painted with the steady determination, from form to closed form, of a silkworm chewing its way across a mulberry leaf. Much of his work is not Cubist at all, if Cubism means fragmentation. It was massively built and integrated, and it buried all traces of its construction process. But it could also be very surprising, and in its insistent reduction of the human form to mechanics, extremely weird--particularly when Leger's obsession with modernity coexisted with...